This release by
Pentatone is of more familiar repertoire and is played by an
ensemble, which has been responsible for many fine recordings
of Russian repertoire under its conductor-in-chief, Mikhail
Pletnev. I have recently criticised a few discs of Russian repertoire
because of lacklustre performances, but here there are absolutely
no concerns on that count. Moreover, the disc is superbly recorded
and issued in SACD format for those of us who are supporters
of this system. It’s a hybrid disc that can also be played on
standard players.

Tchaikovsky wrote
four orchestral suites, one after the other, between the fourth
and fifth symphonies. They have been commented upon as being
too lightweight to be symphonies and too serious to be taken
as occasional works. To arrive at judgement is to miss the point,
as all four suites demonstrate once again, if it were actually
needed, how superb a lyricist Tchaikovsky was, and how expertly
he can build and follow through with an exciting climax. The
finale of the third suite is an excellent example. After three
high class movements the composer comes up with a relatively
simple theme, which he then proceeds to display in various guises
at different emotional levels. The final variation, almost as
long as what has gone before it, builds to a tremendous climax,
orchestrated superbly. The emotions are kept well under control
until the very end, when all hell is let loose for us to revel
in and enjoy. The last chord attracts the only tiny criticism
I can level at this very fine performance: the conductor for
some inexplicable reason sees fit to apply both a drawing out,
and a diminuendo of this last chord. In my opinion this drains
some of the drama from the work. The orchestra plays superbly
with all sections excelling in the composer’s superb writing.

Initially the second
work on the disc seemed strange to me. Upon listening to it
I was completely won over. Here we encounter a composer of a
completely different era and style writing for dancers in the
style of Tchaikovsky; one of Stravinsky’s favourite composers.
Stravinsky wrote: “A child is marked at birth by the kiss of
a fairy; thus she separates it from her mother. Twenty years
later, as the young man is experiencing the moment of his greatest
happiness, she again gives him the kiss of fate and thus removes
him from his earthly existence, in order to keep him forever
in the greatest bliss.”

To develop the score
of the Divertimento, Stravinsky took piano pieces and songs
from Tchaikovsky’s catalogue and wove these into a superb example
of Stravinsky’s artistry. In addition this seamless stitching
of various short works into a dramatic entity produces a work
capable of being danced to and being be enjoyed by all. There
are few of Stravinsky’s spiky dissonances in attendance, and
the work, like its companion, is pure delight from start to
finish.

The Russian National
Orchestra, under its Principal Guest Conductor makes a wonderful
job of these two colourful and tuneful works. I recommend it
unreservedly.

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